Volume 13 | Issue 7 | Number 1 | Article ID 4277 | Feb 16, 2015 The Asia-Pacific Journal | Focus

Introduction: Art and Activism in Post-Disaster Japan はじめに 災害後の日本におけるアートとアクティビズム

Alexander Brown, Vera Mackie

On 11 March 2011, the northeastern area of assuming that "art" and "activism" are Japan, known as Tōhoku, was hit by an necessarily discrete activities. In the wake of a unprecedented and .1 The disaster with such immense social implications, disaster damaged the Fukushima Daiichi all of the diverse ways of attempting to plant, one of a number of such communicate about the disaster – whether facilities located in what was already an documentary or artistic – have political economically disadvantaged region.2 This led to dimensions. Indeed, many of the contributors to a series of explosions and meltdowns and to the this issue reflect on the near impossibility of leakage of contaminated water and radioactive communicating the experience. Similarly, it is fallout into the surrounding area. Around difficult to dismiss the artistic element in many 20,000 people were reported dead or missing, of the political responses – such as the use of with a disproportionate number from the aged music, drumming, rapping, street theatre, population of the region. Nearly four years masks, costumes and posters in later, hundreds of thousands of people are still demonstrations. The close relationship between displaced: evacuated to other areas, living in art and activism in the wake of the disaster is temporary accommodations, or living inexemplified by artist Nara Yoshitomo. He makeshift shelters in former public buildings. uploaded his anti-nuclear poster to the There has been despoliation of the environment internet, so that people could print it out at and contamination of food, air and water. their local convenience store and take it to Primary industries like fishing and dairy have demonstrations.3 been curtailed. Livestock have suffered excruciating deaths due to injury, radiation sickness and starvation, or have had to be "put down". The nuclear power industry in Japan is effectively shut down, and people are enjoined to save electricity () in order to cope with the reduced capacity for power generation. This multiple disaster has reverberated on a number of scales – in the local communities immediately affected, in civil society groups who have sent volunteers to the region, in more distant places which have welcomed refugees from the disaster, in the responses of local and national governments, and in international expressions of solidarity and concern.

In this special issue, we focus on artistic and activist responses to the disaster, but without

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screenings stimulate civil society discussions among audiences in real time, while others disseminate their experiences and reflections on social media sites like youtube.6 Artists in a range of media have responded to the crisis, expressing anger, sadness, grief, confusion, bewilderment, empathy and solidarity. Giving expression to these shared feelings can also be a stimulus to action.

The political repercussions of the disasters have been immense, as people in Japan and beyond reflect on the systems and structures behind decisions to locate nuclear power plants in vulnerable and impoverished regional communities or to allow development in low- lying areas which are susceptible to . Tōhoku is close to known seismic lines, and there is a long history of and tsunamis on the Pacific coast of Japan. Questions have also been raised about the ways in which decisions were made about so-called 'safe' levels of nuclear radiation, about the height levels of protective walls, and about the number of years a nuclear plant can be Nara Yoshitomo "No Nukes". operated. Even before the Fukushima disaster it was known that decisions about the location of nuclear power plants were made through There have been various grassroots responses. national and local governments and power Volunteers are working with NGOs to support companies providing incentives to local affected and displaced communities. Civil communities to host these facilities. It was also society activists collect signatures for petitions, known that areas with strong civil society hold public meetings and engage instructures were better able to resist these demonstrations at strategic sites like the Diet overtures. In current writings, the coalition of Building, the Prime Minister's residence, science, business, conservative political parties relevant government ministries, powerand national and local governments is known as companies, and in the streets, parks and other the genshiryoku mura, or "nuclear power open spaces of their local communities. Citizen village".7 scientists are documenting the level of radioactive contamination in different parts of Many now challenge the notion of a "natural" Japan and challenging the veracity ofdisaster. While the timing and scale of events information provided by governments.4 Others such as earthquakes, tsunamis, cyclones, floods have attempted to document the disaster or bushfires are beyond human control, their through personal testimony, interviews,effects are mediated by social conditions and photography, journalism, documentary film, by the history of human interaction with the ethnography, academic research and other environment. As far back as 1906, Japanese means of communication.5 Documentary anarchist Kōtoku Shūsui (1871–1911), who

2 13 | 7 | 1 APJ | JF witnessed the Great San Francisco Earthquake, flourishing of civil society volunteerism.14 Many noted of the disaster that, of the activist groups which took part in anti- nuclear demonstrations after Fukushima were Non-Profit Organisations (N.P.O.s) hunger followed, and cold. incorporated under the auspices of the 1998 Unemployment followed. One Law to Promote Specified Non-Profit Activities hundred thousand poor tasted (Tokutei Hi Eiri Katsudō Sokushin Hō; bitter suffering to its fullest extent. generally known as the N.P.O. Law) which was And yet, this was not the fault of brought in partly as a response to the Hanshin the fire, this was the fault of disaster.15 today's social order alone.8 The representation of radiological disasters has a significant place in Japanese cultural history. This has become apparent, not only in Artists and activists responded to the atomic Fukushima, but in the case of the Indian Ocean bombing of Hiroshima and Nagasaki by Tsunami in 2004, Hurricane Katrina in the US in 2005, and the droughts, floods and bushfires initiating widespread political and cultural which have ravaged Australia in recent years. movements against nuclear weapons. The Hiroshima Panels by painters Maruki Iri Disasters have a profound impact on the (1901–1995) and Maruki Toshi (1912–2000) shaping of culture.9 When Hurricane Katrina toured the country when mention of the impact ripped through New Orleans it made apparent of nuclear weapons was still being censored by the racialised, gendered and class divisions in the Supreme Command of the Allied Powers 16 US society. Cultural responses to Katrina like (SCAP). After the end of the Allied Occupation the HBO television seriesTreme engaged in 1952, the experience of the bombings could directly with these issues and depicted the be dealt with more openly in literature, 17 tensions which pervaded everyday life in the memoirs, poetry and film. The original post-disaster city.10 This contributed to the Godzilla film, released in 1954, includes writing and re-writing of an otherwise familiar references to the atomic bombings of 1945 and place which had been radically transformed by the Lucky Dragon No 5 (Daigo Fukuryū Maru) disaster.11 In this special issue we trace how Incident of March 1954, where a fishing vessel the Fukushima disaster is being imagined and was irradiated by US nuclear testing at Bikini 18 reimagined; we place these imaginings in a Atoll in the Marshall Islands. Post-nuclear longer cultural history; and consider how these apocalypse is a staple of graphic novels and cultural representations are linked to the animated films like Ōtomo Katsuhiro's Akira.19 imagining of alternative futures. This cultural history of anti-nuclear art provided a context for many of the responses to Modern Japan has been shaped by disasters Fukushima, and will take on further resonance which reverberate through the cultural sphere as we mark the seventieth anniversaries of long after the immediate events. Indeed, in Hiroshima and Nagasaki in 2015. using the phrase "post-disaster", we are not suggesting that the disaster is over. Rather, The flourishing of civil society activism in the "post-disaster" refers to all of the continuing wake of the Fukushima disaster reminds repercussions.12 Responses to the Great Kantō commentators of the huge demonstrations Earthquake of 1923 referenced the disaster for against the US-Japan Security Treaty in 1960, particular social and political ends.13 The 1995 the anti-Vietnam war movement of the 1970s, Great Hanshin Earthquake in the Kōbe region and the student left of the 1970s. This history provoked what is widely regarded as awas explicitly referenced by a group who hired

3 13 | 7 | 1 APJ | JF a helicopter in order to take an aerialPoetry) (originally published as tweets) and photograph of one of the weeklyKawakami Hiromi's Kamisama 2011, Tamaki demonstrations outside the Prime Minister's Tokita explores the attempt to create affective Residence (Kantei-mae).20 By making this visual bonds with disaster victims through artistic representation of the massed demonstrators expression.22 The government and media in available on the internet, the group challenged Japan promoted the concept ofkizuna (the the mainstream media's failure to document human bonds between people), which could be the weekly demonstrations.21 Cultural seen as encouraging solidarity and empathy. At representation (in this case photographs) could the same time, however, the official promoters not, here, be separated from activism. The of kizuna have played down the unequal aerial photograph of the crowds referenced the distribution of suffering, pain and precarity in famous aerial photographs of thethe wake of the compound disaster.23 Tokita demonstrations around the Diet Building takes a critical approach to the concept of against the renewal of the US-Japan Security kizuna, focusing on expressions of human Treaty in 1960, thereby reconfiguring historical connectedness which were not mediated by memory. The Kantei-mae demonstrations were government policy or media advertising thus placed in a longer history ofcampaigns. demonstrations dating back to the 1960s. Children's literature has also been a medium for artists and poets to respond to the disaster, as Helen Kilpatrick documents in this issue in her analysis of Arthur Binard and Okakura Tadashi's Sagashite imasu (I am Searching).24 Binard and Okakura used images of objects from the Hiroshima Peace Museum to make connections with the contemporary devastation at Fukushima. In the book, these objects are endowed with the power to mourn their missing human owners. The objects are photographed against a backdrop of a kind of granite often used in gravestones, providing a subtle visual reinforcement of the theme of Noda Masaya (JVJA), Aerial Photograph of mourning. As with many of the works discussed Demonstration 29 June 2012, Creativein these essays,Sagashite imasu places Commons Licence. Hiroshima and Fukushima in the same narrative frame, as places which are linked by the devastating effects of irradiation, and as People struggled to come to terms with the melancholy places of unresolved mourning. disaster by communicating through new social media, debating in print and other traditional Peter Eckersall considers two theatrical media, and engaging in political action. As productions, Hirata Oriza's "Sayonara" (2011 artists and activists responded to theversion) and Okada Toshiki's "Ground and compound disaster they turned to one another Floor" (2013), which are also concerned with and developed affective networks through mourning. Many of the bodies of those lost in which they could share their responses. In her Fukushima will never be recovered; the analysis of two post-Fukushima literary texts, exclusion zone around the Fukushima Daiichi Wago Ryōichi's Shi no Tsubute (Pebbles of nuclear plant blocks access to the site of their

4 13 | 7 | 1 APJ | JF loss; and the long half-life of nuclear material media can also facilitate individual decisions to necessitates an almost endless time frame of become politically active. Tamura uses text- mourning and recovery. The theme of haunting mining software to analyse the twitter links these contemporary plays with earlier messages of one individual (who uses the artistic forms such as Nō theatre, which often twitter handle @tatangarani).The tweets reveal focus on spirits who can not find rest. a developing political awareness in the wake of the Fukushima disaster, reflected in changes in Alexander Brown discusses guerilla artthe vocabulary used by @tatangarani, her use collective Chim↑Pom who have placed of twitter to disseminate information about Fukushima in the longer history of nuclear issues she is committed to; and her more Japan through "completing" Okamoto Tarō's regular participation in demonstrations. (1911–1996) mural "Asu no Shinwa" (The Myth of Tomorrow) in Shibuya Station. Okamoto's The 3/11 compound disaster has been mural depicts the Hiroshima bombing of 1945 experienced in the age of globalisation. No and the "Lucky Dragon Incident" of 1954. place on earth can be sheltered from Chim↑Pom added a panel depicting the radioactivity, which is transmitted by ocean Fukushima Daiichi nuclear explosion. For currents, by rain, by wind, and in the food Chim↑Pom, like Okamoto, representing these chain. The nuclear explosions, meltdowns and radiological incidents through art is anradioactive contamination at Fukushima have important means of defence against theinvited comparison with the Chernobyl nuclear "forgetting" so essential to modern history. disaster of 1986, an incident which galvanised opposition to .26 The Carolyn Stevens compares photographs of the nuclear dimension of the 3/11 disasters also Fukushima disaster and its aftermath with provokes reflection on all of the stages of the iconic images from the earlier disasters of global nuclear fuel and weaponry cycle: mining, nuclear war and environmental pollution. When extraction, the building and operation of photographers "quote" earlier iconic images, nuclear power plants, nuclear testing, and the viewers' responses are informed by historical use of nuclear weaponry. The reference points memory. The photographs are a visualinclude the Manhattan Project in Nevada, mnemonic, a trigger to memory. The initial Bikini Atoll, Maralinga in central Australia response may be an emotional one; this can (where indigenous communities suffered from then be linked to memories of similarnuclear testing in the 1950s), and the places photographs of other disasters. For some where uranium is mined, which are often viewers at least, these memories might prompt associated with the dispossession of indigenous questions about the links between, for example, peoples (see Mackie in this issue).27 Minamata and Fukushima. Both are communities which suffered through the Responses to the Fukushima disaster exceed actions of private companies, and whothe boundaries of the Japanese nation-state. expressed dissatisfaction with government The anti-nuclear movement is a transnational responses to their suffering. Minamata also one. Documentaries and feature films circulate provides the example of a longstandinginternationally; several photographic campaign for redress; and is seen as a site exhibitions have toured other countries, and where individuals and groups have tried to some performances and installations have also forge new forms of political connectedness.25 travelled. International communication about the issue has also, of course, been facilitated by Takanori Tamura explores the use of social new social media (see articles by Allison media by anti-nuclear activist groups. Social Holland, Carolyn Stevens and Vera Mackie in

5 13 | 7 | 1 APJ | JF this issue).28 discussion around the 2020 Olympics reminds us that both artistic practice and political Vera Mackie provides an (auto)ethnographic discussions are about imagining possible account of commemorative events held in futures. eastern Australia, where a multicultural performance allowed for the expression of Rebecca Solnit has argued that there can be a transnational solidarity. Gestures of solidarity "paradise built in hell" in the wake of major were expressed through the embodieddisasters.31 experience of attending and participating in local events, through the use of new social The assumption has been that we media, and through the interactions between revert to our original nature, and these different media. Mackie argues that these that original nature is chaotic, events prompted a "re-remembering" of selfish, panicky, opportunistic. But Hiroshima and Nagasaki through the prism of the actual evidence, over and over Fukushima, grounded in a recognition of the again, is that we are orderly, calm, place of both Japan and Australia in the global generous, even selfless, creative, nuclear chain. and resourceful. The communities Allison Holland examines the work of artist people build in emergencies are Takamine Tadasu, whose installation, often utopian. They don't last, but they suggest both what we most "Fukushima Esperanto" in a Brisbane gallery desire and that it might be evokes an emotional response to the disaster in possible. And that we are not who its presentation of childhood objects like lost we think we are. And these self- toys, and the overlaying of a nostalgic organized communities are also soundtrack. Fukushima Esperanto evokes direct democracies, where history in its references to the bombing of decisions are made by the group, Hiroshima and the post-Second World War where everyone matters.32 "Atoms for Peace" campaign.29 The work also makes connections with a local disaster, the devastating floods suffered in SouthernUnsurprisingly, Solnit's work has stimulated Queensland in late 2010, early 2011 and again discussion in post-disaster Japan. Some in early 2013 while "Fukushima Esperanto" was celebrate the flourishing of volunteerism and being exhibited. In Australia, too, the effects of civil society activism in the wake of the the periodic disasters of floods, droughts and disaster. Others are more pessimistic about the bushfires are mediated by human choices about prospects for recovery. Even before agricultural industries, the management of Fukushima, people in Japan were suffering waterways and the location of humanthrough extended economic recession, the rise dwellings. of precarious employment, and a welfare crisis in the society where population aging has A further reference point for Fukushima- advanced further than anywhere else in the related politics is the Tokyo Olympics planned world.33 Will a "paradise" emerge, or a more 30 for 2020. Critics are already noting new forms "hellish" future? Artists are engaged in of repression associated with preparing to host imagining those possible futures, while activists this event. Furthermore, funds which could are trying to bring a better future into being. have been devoted to reconstructing Fukushima are being diverted to theThese utopic and dystopic visions resonate with construction of new Olympic facilities. The Tawara Machi's poetic rendering of fleeing

6 13 | 7 | 1 APJ | JF with her primary-school aged son to Okinawa, Notes as far away as possible from Fukushima. 1 The articles in this special issue draw on papers first presented at a symposium on 'Art To the West and Activism in Post-Disaster Japan, held at the University of Wollongong in August 2013, and To the West convened by Vera Mackie and Alexander Brown. The symposium was supported by the Fleeing with my child Japan Foundation Sydney Office, the Japanese Studies Association of Australia and the Forum If you want to say on Human Rights Research at the University of Wollongong. We would like to thank the editors I'm a stupid mother of The Asia-Pacific Journal: Japan Focus, Then say it!34 particularly Laura Hein and Mark Selden, and the reviewers, for their constructive comments on earlier versions of the articles. Tawara's illustrated collection of poetry evokes 2 the micropolitics of everyday life in post- Kainuma has argued that the siting of the disaster Japan. She documents the initial shock Fukushima Daiichi of the earthquake, the decision to take her reflected the semi-colonial relationship child to Okinawa, the often negative reactions between Tokyo and poorer rural areas like of her friends to her decision to flee, and the Fukushima. See Kainuma Hiroshi, Fukushima ron: Genshiryokumura wa Naze Umareta no ka gradual process of making a new home in [On Fukushima: What Gave Rise to the Nuclear Okinawa. She also traces moments of kindness Village?], Seidosha, Tokyo, 2011. in the wake of the disaster and the importance of hanging on to such moments for the sake of 3 Nara Yoshitomo, "No Nukes" poster retrieved imagining better futures. on 26 December 2014.

4 Richard Hindmarsh (ed.) Nuclear Disaster at Holding hands with my son Fukushima: Social, Political and Environmental Issues, Routledge, Oxford, 2013. He complains of hunger 5 In addition to the extensive coverage in The Even though I have 100 yen, there Asia-Pacific Journal: Japan Focus, see, inter are no rice balls to buy alia, Jeff Kingston, ed., Tsunami: Japan's Post- A boiled egg Fukushima Future, Foreign Policy Magazine, Washington D.C., 2011; Jeff Kingston, ed., From a passerby Natural Disaster and Nuclear Crisis in Japan: Response and Recovery after Japan's 3/11, Don't you ever forget that boiled Routledge, Oxford, 2012; Holly Thompson, ed., egg!35 Tomo: Friendship through Fiction: An Anthology of Japan Teen Stories, Stone Bridge Press, Berkeley; David Karashima and Elmer Recommended citation: Alexander Brown and Luke, eds, March was Made of Yarn: Vera Mackie, "Introduction: Art and Activism in Reflections on Japan's Earthquake, Tsunami Post-Disaster Japan", The Asia-Pacific Journal, and , Vintage, New York, Vol. 13, Issue 6, No. 1, February 16, 2015. 2012; Lucy Birmingham and David McNeill,

7 13 | 7 | 1 APJ | JF eds, Strong in the Rain: Surviving Japan's Disaster and the Making of Modern America, Earthquake, Tsunami and Fukushima Nuclear Chicago, University of Chicago Press, 2007. Disaster, Palgrave Macmillan, London, 2012; 10 Mark Willacy, Fukushima: Japan's Tsunami and Lynnell L. Thomas, " 'People Want to See the Inside Story of the Nuclear Meltdown, Pan What Happened': Treme, Televisual Tourism, Macmillan Australia, Sydney, 2013; Hiroshima and the Racial Remapping of Post-Katrina New City University 3/11 Forum,Japan's 3/11 Orleans", Television and New Media, vol. 13, no Disaster as Seen From Hiroshima: A3, pp. 213–224. Multidisciplinary Approach, Sanseidō, Tokyo, 11 See, for example, Herman Gray, "Recovered, 2013; Roy Starrs, ed., When the Tsunami Came reinvented, reimagined: Treme, Television to Shore: Culture and Disaster in Japan, Global Studies and Writing New Orleans", Television Oriental, Leiden, 2014; and Japan Forum, Vol. and New Media, vol. 13, no 3, 2012, pp. 26, No 3, 2014. 268–278. 6 Fujiki Hideaki, "'Shimin ' to Eiga no 12 See the discussions of the prefix "post-" in Nettowāku: 3.11go no Genpatsu o Meguru such terms as "post-modern", "post- Shakai Undō no Naka de " ["Citizens" and the structuralist" or "post-colonial". Linda Film Network: In the Social Movement Around Hutcheon, The Politics of Postmodernism, Nuclear Energy], JunCture, Vol. 5, 2014; David Routledge New Accents, London, 1989; H. Slater, "Fukushima Women against Nuclear Margaret Rose, The Post-modern and the Post- Power: Finding a Voice from Tohoku", The Asia- industrial: A Critical Analysis; Cambridge Pacific Journal. Retrieved on 17 August 2012; University Press, Cambridge, 1991; Kwame Women of Fukushima. Retrieved on 24 Anthony Appiah, "Is the Post- in Postmodernism December 2014 the Post- infrom Postcolonial?", Critical Inquiry, Vol. http://www.women-of-fukushima.com/. 17, No 2 (Winter 1991), pp. 336–357; Andrew John Miller, "Fables of Progression: 7 Daniel Aldrich, Site Fights: Divisive Facilities Modernism, Modernity, Narrative", in Stephen and Civil Society in Japan and the West, Ithaca: Ross, ed. Modernism and Theory: A Critical Cornell University Press, 2008. For an account Debate, Routledge, London, 2009. of a twenty years struggle against the building of a nuclear power plant adjacent to the island 13 Gregory Clancey, Earthquake Nation: The of Iwaijima in the inland sea see Yamaaki Shin, Cultural Politics of Japanese Seismicity, Genpatsu o tsukurasenai hitobito: Iwaijima 1868–1930, University of California Press, kara mirai e [People Who Won't Let a Nuclear Berkeley, 2006. Power Plant Be Built: From Iwaijima to the Future], Tokyo, Iwanami, 2012. On the14 Rajib Shaw and Katsuichiro Goda, "From genshiryoku mura, see Kainuma, Fukushima Disaster to Sustainable Civil Society: The Kobe ron. Experience", Disasters, vol. 28, no. 1, pp. 16–40. 8 Kōtoku Shūsui, Sōkō Heiminsha Buji [San Francisco Heiminsha Safe], Hikari [Light], no. 15 Robert Pekkanen, "Japan's New Politics: The 13, May 20, 1906, p. 6; cited and translated in Case of the NPO Law",Journal of Japanese George Elison, "Kōtoku Shūsui: The Change in Studies, vol 26, no. 1, pp. 111–148. It needs to Thought", Monumenta Nipponica, vol. 22, nos. be acknowledged, however, that the N.P.O. law 3–4, 1967, p. 453. also had the effect of reshaping the relationship between state and civil society. N.P.O.s are also 9 Kevin Rozario, The Culture of Calamity: implicated in the neo-liberal reshaping of

8 13 | 7 | 1 APJ | JF welfare policy, as some N.P.O.s are also Japan, August 2012; Noda Masaya, "Tadashii involved in the provision of welfare services in Hōdō Heri no Kai 6.29 Shūsho Kantei Mae the context of a shrinking national welfare Demo Kūsatsu Shashin o Kōkai" [Helicopter budget. Karen Nakamura, "Disability,Club for Accurate Reporting Releases Aerial Destitution and Disaster: Surviving the 1995 Photographs of Kantei Mae Demonstration], Great Hanshin Earthquake in Japan",Human fotgazet, 29 June 2012. Retrieved on 22 Organization, Vol. 68, No 1, Spring 2009, pp. December 2014 from . 82–88. 21 On media reporting of the Fukushima 16 Richard H. Minear, ed., Hiroshima: Three disaster, see Leslie M. Tkach-Kawasaki, "March Witnesses, Princeton University Press,2011 On-Line: Comparing Japanese News Princeton, p.11. The Marukis' paintings also Websites and International News Websites", in toured Europe, the Soviet Union and the Jeff Kingston (ed.),Natural Disaster and People's Republic of China from 1953 to 1964. Nuclear Crisis in Japan: Response and Ann Sherif, Japan's Cold War: Media, Literature Recovery after Japan's 3/11, London, and the Law, Columbia University Press, New Routledge, 2012, pp. 109–23; Itō Mamoru, York, 2009, p. 47. Terebi wa Genpatsu Jiko o dō Tsutaeta ka [How Did Television Report the Nuclear Accident?], 17 John Whittier Treat, Writing Ground Zero: Heibonsha, Tokyo, 2012. Japanese Literature and the Atomic Bomb, 22 University of Chicago Press, Chicago, 1995; Wagō Ryōichi, Shi no Tsubute [Pebbles of Mick Broderick, ed., Cinema: Poetry], Tokyo, Tokuma Shoten, 2011; God Bless You, 2011], Hiroshima, Nagasaki and the Nuclear Image in Kawakami Hiromi, Kamisama 2011 Japanese Film, Kegan Paul International, Tokyo, Kōdansha, 2011. London, 1996; Yuko Shibata, "Belated Arrival in 23 On the differential distribution of precarity, Political Transition: 1950s Films on Hiroshima see Judith Butler, Frames of War: When is Life and Nagasaki", in Starrs, ed.,When the Grievable?, Verso, London, 2009, p. 24. Tsunami Came to Shore, pp. 231–248. 24 Arthur Binard and Okakura Tadashi. 18 Ralph E. Lapp, The Voyage of the Lucky Sagashite imasu I am Searching], Tokyo, Dōshinsha, 2012. Dragon: The True Story of the Japanese

Fishermen Who Were the First Victims of the 25 Hidaka Rokurō, Sengo Shisō o Kangaeru H-Bomb, Harmondsworth: Penguin, 1957; Ann [Thinking about Post-war Thought]; Iwanami, Sherif, "Thermonuclear Weapons and Tuna: Tokyo, 1980; Rokurō Hidaka,The Price of Testing, Protest and Knowledge in Japan", in Affluence, Melbourne, Penguin, 1985 [1984]; Jadwiga E. Pieper Mooney and Fabio Lanza, Hidaka Rokurō, 'Personal Retrospective', in eds, De-Centering Cold War History: Local and Gavan McCormack and Yoshio Sugimoto, eds, Global Change, Routledge, Oxford, 2012, pp. Democracy in Contemporary Japan, Hale and Godzilla], Tōhō, Tokyo, 1954; Yuki 15–30; Honda Ishirō, Gojira Iremonger: Sydney, 1986; Shioda Takashi, Tanaka, "Godzilla and the Bravo Shot: Who Created and Killed the Monster?",The Asia-Pacific Journal: Japan Focus, 13 June 2005. Retrieved on 24 December 2014 from Minamata-na Hito: Minamata-byō o Shien shita . Hito-bito no Kiseki [Minamata People: The Traces of the People who Supported 19 Ōtomo Katsuhiro, Akira, Tōhō, Tokyo.1988 Minamata], Miraisha, Tokyo, 2013.

20 "Ano kiji no sono go o otsutae shimasu. Days 26 Ulrike Wöhr, "From Hiroshima to Fukushima: Japan forō appu" [Reporting on What Happened Gender in Nuclear and Anti-Nuclear Politics" in After That Article. Days Japan Follow Up], Days Hiroshima City University 3/11 Forum, Japan's

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3/11 Disaster as Seen From Hiroshima: A Issue 23, January 2010. Retrieved on 21 Multidisciplinary Approach, pp. 203–233. December 2014,

31 27 On these links, see: Oda Makoto, Hiroshima, Rebecca Solnit, A Paradise in Hell: The Tokyo, Kōdansha, 1981; Oda Makoto,The Extraordinary Communities That Arise in Bomb, translated by D. Hugh Whittaker, Tokyo, Disaster, Viking Books, New York, 2010. Solnit Kodansha International, 1990; and Robert visited Japan in 2012 to meet with local Jacobs and Mick Broderick's Global Hibakusha communities affected by the 3/11 disaster and Project, . give a lecture at the Tokyo University of Foreign Studies. For Solnit's reflections on the 28 See also, Vera Mackie, 'Reflections: The trip see Rebecca Solnit,"Diary" , London Rhythms of Internationalisation in Post-Review of Books, vol. 34, no. 9–10, May 2012. Disaster Japan', in Jeremy Breaden et al., eds, Retrieved 8 December 2014. For her speech (in Internationalising Japan: Discourse andJapanese) Rebecca Solnit, "Shinsai ni mukatte, Practice, Routledge, Oxford, 2014, pp.tobira o hiraku" [Facing Disaster, Open the 195–206. Door], Odawara Rin (trans.), at purasu, no.12, May 2012. 29 Ran Zwigenberg, "'The Coming of a Second 32 "An Interview with Author Rebecca Solnit", in Sun':The 1956 Atoms for Peace Exhibit in CalHumanities, Searching for Democracy. Hiroshima and Japan's Embrace of Nuclear Retrieved 12 January 2015. Power", The Asia-Pacific Journal: Japan Focus,Vol. 10, Issue 6, No 1, February 6), 2012. 33 See Anne Allison, Precarious Japan, Duke University Press, Durham, 2013. 30 On attempts to reconsider the cultural politics of the memories of the 1964 Tokyo 34 Tawara Machi,Are kara [And then], Olympics, see: Peter Eckersall,"Tour Imajinsha, Tokyo, 2012, unpaginated. Performance 'Tokyo/ Olympics': Digging the Translation by Vera Mackie. High Times of the 1960s", Intersections: Gender and Sexuality in Asia and the Pacific, 35 Tawara, Are kara.

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